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Annabel Smart grew up in Marlborough, where the serene yet dramatic backdrop of vineyards, rolling hills and the majestic Sounds subtly shaped her instinct for spatial harmony. “Being surrounded by such natural beauty made it impossible not to absorb a sense of scale, proportion, and quiet elegance". At home, design was part of everyday life; her mother had an instinct for creating thoughtful, welcoming spaces, while her father, an engineer who worked closely with architects, offered an early view into the built world.
After earning an architecture degree from Victoria University and gaining experience at some of New Zealand’s top design studios, Annabel crossed paths with future business partner Marijne Vogel while working in Melbourne. “We quickly realised we shared a deep alignment in design values, aesthetic sensibilities, and broader life goals,” she recalls. What began as a creative side project – crafting leather totes to carry their A3 drawing sets – gradually grew into something more. In 2017, the pair collaborated on their first kitchen design, then took the leap to establish Studio 11:11 – a practice now recognised for its refined, thoughtfully detailed interiors.
We caught up with Annabel to learn what defines material clarity from minimalism, what draws her to particular finishes and textures, and what she’d love to design next.
The Studio 11:11 team is spread across Auckland, Melbourne, Wellington, and Amsterdam – how does that geographic separation influence your collaboration as a studio?
I don’t think you can be farther apart than New Zealand and the Netherlands. That distance can be a challenge, but it’s also a muse and I truly think it’s our creative super‑power. Each studio contributes its own materials, rhythms, local craftspeople, and cultural energy, inspiring cross‑pollination. The distance forces us to communicate deliberately and thoughtfully, and that constraint intensifies our creative synergy rather than diluting it. I do miss being in the same room with my colleagues and quickly bouncing ideas around though. Our late‑night meetings aren’t ideal but as a night owl, I’m happy to make that trade.
Your work is always super elegant but also often has a raw element to it too. A really beautiful sensory balance. How would you describe your personal design philosophy, and how has it matured or evolved over time?
I am always striving to create clarity and simplicity in order to elevate material expression. I guess it's minimalist in principle but never minimal in character or soul.
I believe craftsmanship that honours imperfection, patina, tactility and a connection to the site is the way to avoid a stark and expressionless building. It’s also about curating the interior with objects and art that hold memory, meaning and spirit, to enhance sensory depth.
I think the more I mature in my career the more I find myself questioning every process and step along the way. However, our philosophy has shifted little since the beginning - restraint, sensitivity, calm emotional resonance, and respect for place and the environment at large still guide us.
We really enjoy the way you approach materials in such thoughtful and often unexpected ways. When it comes to selecting materials and textures, especially timber, what are some of the qualities you look for, and how do you decide what will work best in a particular space? Are there finishes or treatments you find yourself returning to?
We’re drawn to honest, textured, tactile materials that accentuate light and shadow - timber that shows grain, natural variation, stories of the past and a sense of ageing.
In each brief, we collaborate with clients to hand‑pick materials so that the innate qualities of tone and texture resonate with them. It is also a site-specific response, for example a lighter timber just makes sense in a sun-drenched coastal home. We revisit finishes that deliver timeless sensory balance, responsible sourcing and guaranteed quality.
How do you choose the local collaborators you work with – what do you look for in a craftsperson or material supplier?
We partner with makers who value permanence, process, and authenticity. We love working with artisans who let the material speak and take pride in quiet detail. For us, collaboration is as much about philosophy as it is technical proficiency.
What stage of the design process most excites you?
For me, the beginning of a project is undeniably exhilarating, when you have space to dream before costings and constraints enter the frame.
Yet there’s also something very satisfying about navigating the later stages when you are rationalising choices, solving constraints as they emerge, and turning intention into form. With the right team, honestly, every stage brings its own energy and reward.
Are there particular designers, architects or artists who inspire or challenge your way of thinking?
I’m drawn to architects who think deeply about material, light and human experience. All the greats - John Pawson, Vincent Van Duysen, Axel Vervoordt. I often find inspiration in art, furniture design and fashion. I also love Faye Toogood for her artistic curiosity in everything she does.
Looking ahead, what’s a dream project you’d love to pursue – whether it’s a specific type of space, material experiment or brief?
Material experimentation in general really interests me - to strip the process of making back to its fundamental elements and be curious about craft and the material qualities. I’ve always had an affinity with rammed earth. I’d also like to design a wine bar… because I like wine.
Imagery: Scott Hardy
